10.06.2022 Views

The Sacred Hoop: Recovering the Feminine in American Indian Traditions

by Paula Gunn Allen

by Paula Gunn Allen

SHOW MORE
SHOW LESS

Create successful ePaper yourself

Turn your PDF publications into a flip-book with our unique Google optimized e-Paper software.

etween factories and clocks, and <strong>the</strong>re is a connection between<br />

colonial imperialism and factories. <strong>The</strong>re is also a connection<br />

between tell<strong>in</strong>g <strong>Indian</strong> tales <strong>in</strong> chronological sequences and <strong>the</strong><br />

<strong>American</strong> tendency to fit <strong>Indian</strong>s <strong>in</strong>to <strong>the</strong> slots <strong>the</strong>y have<br />

prepared for us. <strong>The</strong> <strong>Indian</strong>s used to be <strong>the</strong> only <strong>in</strong>habitants of<br />

<strong>the</strong> Americas, but times change. Hav<strong>in</strong>g perceived us as<br />

belong<strong>in</strong>g to history, <strong>the</strong>y are free to emote over us, to re-create<br />

us <strong>in</strong> <strong>the</strong>ir history-based understand<strong>in</strong>g, and dismiss our present<br />

lives as archaic and irrelevant to <strong>the</strong> times.<br />

Not surpris<strong>in</strong>gly, both of McNickle’s novels, W<strong>in</strong>d from an<br />

Enemy Sky and <strong>The</strong> Surrounded, are about <strong>the</strong> loss of hope for<br />

<strong>the</strong> <strong>Indian</strong>s. Both protagonists are caught <strong>in</strong> a web of actions and<br />

reactions that can be understood by compar<strong>in</strong>g <strong>the</strong> cultural<br />

understand<strong>in</strong>gs of <strong>the</strong> <strong>Indian</strong>s and those of <strong>the</strong> whites. Both books<br />

imply that while <strong>the</strong> <strong>Indian</strong>s are s<strong>in</strong>cere and much more<br />

humanely <strong>in</strong>telligent than <strong>the</strong> whites around <strong>the</strong>m, <strong>the</strong>ir tribal<br />

sense of propriety and tim<strong>in</strong>g leads <strong>the</strong>m <strong>in</strong>to deadly conflict<br />

with <strong>the</strong> whites. Mourn<strong>in</strong>g Dove’s protagonist <strong>in</strong> Cogewea, <strong>the</strong><br />

Half-Blood suffers a happier fate: her experience with <strong>the</strong> wily<br />

white man is devastat<strong>in</strong>g, but it could have been avoided had she<br />

understood <strong>the</strong> situation as <strong>the</strong> grandmo<strong>the</strong>r does, ceremonially.<br />

But nei<strong>the</strong>r Cogewea nor any o<strong>the</strong>r <strong>Indian</strong> <strong>in</strong> Mourn<strong>in</strong>g Dove’s<br />

novel is murderer or murdered, and Cogewea herself f<strong>in</strong>ally<br />

understands <strong>the</strong> true po<strong>in</strong>t of <strong>the</strong> Stemteema’s teach<strong>in</strong>gs. Nor is<br />

Mourn<strong>in</strong>g Dove as comfortable with chronological order<strong>in</strong>g as<br />

McNickle. While Cogewea, <strong>the</strong> Half-Blood is told <strong>in</strong><br />

chronological sequence, Mourn<strong>in</strong>g Dove makes massive<br />

<strong>in</strong>terruptions for sociopolitical rum<strong>in</strong>ations. <strong>The</strong>se stop <strong>the</strong> flow<br />

of <strong>the</strong> story, to be sure, but <strong>the</strong>y also po<strong>in</strong>t to Mourn<strong>in</strong>g Dove’s<br />

uneas<strong>in</strong>ess with <strong>the</strong> simple order<strong>in</strong>g and <strong>in</strong>terpret<strong>in</strong>g of events<br />

that chronological organization imposes.<br />

<strong>The</strong> contemporary novels of Leslie Marmon Silko and James<br />

Welch are composed of a series of short vignettes. Welch sticks

Hooray! Your file is uploaded and ready to be published.

Saved successfully!

Ooh no, something went wrong!